Fingering
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b. 27-28
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composition: Op. 10 No 12, Etude in C minor
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Bar 27 is one of two bars in which the fingering is already included in A. It was repeated and completed in FE (→GE,EE), yet with one exception – the last digit in A is written under the penultimate note and in the editions – under the last one. According to us, the engraver's error is a more possible explanation than Chopin's correction. Therefore, in the main text we consider both possibilities, however, we give preference to the undoubtedly authentic version of A. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 29-32
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the undoubtedly authentic fingering of FE (→GE). Fontana completed it in EE in bar 32 after bar 28. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 34
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composition: Op. 10 No 12, Etude in C minor
category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 34-36
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the fingering added by Chopin in a proofreading of FE (→GE). In EE Fontana added it in bar 35 in order to eliminate any possibility of the use of erroneous fingering. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 37-39
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composition: Op. 10 No 12, Etude in C minor
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In the main text we give the fingering added by Chopin in a proofreading of FE (→GE). In EE Fontana completed it with digits which naturally stem from Chopin's indications. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
